Tips thread

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  • Xenozip.Xenozip. what a nincowpoop Joined: Posts: 3,942
    I agree. I pretty much only use quickmask tool these days, if at all. Though my only beef with masks is that it's time consuming, if I could automatically make a mask in a couple of seconds then I'd probably use them more. It's probably easier in photoshop, come to think of it, I'm sure there's some little tricks you can use to make dynamic selections and then convert that over to a mask.
    Let's play.
  • X_SwordX_Sword -+FGs, Art, and Beats+- Joined: Posts: 1,749
    Any tips on crafting dynamic poses for characters? It seems I draw too many characters that just stand there looking at you lol
    --TurntheHeadphonesUp--
    Steam:X_Sword
    swxrdz.deviantart.com
  • shubaccashubacca so many long time Joined: Posts: 329
    Any tips on crafting dynamic poses for characters? It seems I draw too many characters that just stand there looking at you lol

    Use lines of action to find the general movement of the body. I find that dynamic posing makes great use of the 3 main twist axis in your body...the head, shoulders, and hips. Twist and manipulate them using basic rules of counter action (ie. left hip forward - right shoulder forward during a stride, or bending your spine back the other way when you're off balance) and try to get a hang of a body naturally posing (ie.contrapposto). Act out the pose and make note of where your body is stretching, flexing, twisting, dangling, where your fat folds, etc. What muscles are supporting the primary action? Where's the leverage your body needs to allow that support? Your body is your best learning material here.
  • Xenozip.Xenozip. what a nincowpoop Joined: Posts: 3,942
    I think dynamic poses have to do with flow and perspective. Having a fluid construct (base structure), and looking at the object (person) in terms of three dimensions from different angles. Relevant link THE ART CENTER
    Let's play.
  • X_SwordX_Sword -+FGs, Art, and Beats+- Joined: Posts: 1,749
    What are some of the art practices you guys have on your free time? \\
    --TurntheHeadphonesUp--
    Steam:X_Sword
    swxrdz.deviantart.com
  • theory816theory816 Joined: Posts: 3
    is it possible to add 3d effects to sprites in after affects?
  • X_SwordX_Sword -+FGs, Art, and Beats+- Joined: Posts: 1,749
    how do you usually prepare your lineart for coloring digitally?
    --TurntheHeadphonesUp--
    Steam:X_Sword
    swxrdz.deviantart.com
  • AOS-AOS- C Joined: Posts: 3,269
    how do you usually prepare your lineart for coloring digitally?

    I'm in the process of coloring a character right now... Once I have the lineart done nice an clean on paper, I scan it, and redraw the lines on photoshop. I do this because my scanner doesn't work the way I like it to... After that all the color layers go underneath the linework.
    PSN/Steam: AOS- [Gouken, Ryu]
    Wii U (SSB4): Okrapaeli [Mario, Link]
  • X_SwordX_Sword -+FGs, Art, and Beats+- Joined: Posts: 1,749
    what is a good method to apply textures to your art work? it could be for PhotoShop, Painter, etc.
    --TurntheHeadphonesUp--
    Steam:X_Sword
    swxrdz.deviantart.com
  • TaitoTaito Great Thing Joined: Posts: 7,096
    I generally follow image tutorial for texturing. I think it's a better idea to paint and blend the textures in by using a layer mask, instead of laying them flat. Warp transform is also a good idea.

    Masamune Shirow is probably a good artist to look at for texturing.
  • AOS-AOS- C Joined: Posts: 3,269
    When I use textures (rarely though), I put them all on separate layers and play with opacity and blending options. I'm that shallow wit the tools I've given
    PSN/Steam: AOS- [Gouken, Ryu]
    Wii U (SSB4): Okrapaeli [Mario, Link]
  • JnXCJnXC Joined: Posts: 12
    Painter problem...
    I've always used photoshop but every now & then I would go back to painter & just mess around, try to get use to it. With the kind of works I do I only require a few things. blotch colours all over the place, then use the smudge tool to blend one colour to the next whilst making use of layers etc. However in Painter XI... I can't figure out how to get the blending anywhere near what i'm aiming for.

    EXAMPLES
    1.png
    2.png

    The first 2 images are the same piece by Kim Hyung Tae, i've circled the parts which i'm talking about. Sure i can get roughly the same effect on photoshop with just the paintbrush and smudge tool, but I would like to be able to do the same thing in painter and from there using and training with painter.

    I don't Recall the artist of this image but it consist almost entirely of the simple blending/smudged look i'm after.

    NSFW
    http://img.photobucket.com/albums/v289/JNX25/3.png

    i've searched for hours, youtube, 3dm3, conceptart.org etc and where as I see it in many pieces which states it's done in painter, I assumed finding a tutorial for something so common would be easy... I'm hoping someone could help me or point me to somewhere that I can find the answers.

    Current brush setup consists of a custom tinting brush for laying down colours & a custom smear brush trying to replicate PS's smudge tool but at the same time try to get those sharp and almost natural watercolour blending...bah dunno how to explain.

    thanks
    www.facebook.com/humidgames
  • TaitoTaito Great Thing Joined: Posts: 7,096
    Can you guys describe your workflow? For digital art, mostly.

    I think I take too long to finish a pic. I want to cut my steps down. Here's what I usually do:

    Make a sketch, adding more detail until the sketch becomes the linework.

    When I'm ready to color, I shrink the drawing to 50% resolution. It helps gets the basic color/painting/lighting out of the way.

    I enlarge the colored art, then add an outline (like 'inking' to pencil). Then detail the coloring.

    Everything else is finishing touches, color adjust, texturing, etc.

    What can I do to cut down the time to finish a pic? I don't mind spending extra time for creative reasons, but generally I want to finish my usual pics in a week or so.
  • Xenozip.Xenozip. what a nincowpoop Joined: Posts: 3,942
    Painter problem...
    -snip-
    I don't have a direct answer because I don't use Painter, but.. if it's a tutorial you're looking for to help explain that effect in Painter then you may be able to find it in one of these places:
    Browsing Tutorials on deviantART
    TUTORIALS, TIPS & TRICKS - ConceptArt.org Forums
    Can you guys describe your workflow? For digital art, mostly.
    -snip-

    With your process:
    - I would suggest not resizing anything in the first place. Try using as large a canvas as you can stomach, and then just zoom out a lot when you want to "work on a small canvas" to do the "basics" (zoom is like stepping away from the canvas, also try squinting your eyes to blur your natural vision too).
    - If you use a program that can open the same canvas in another window, I highly recommend you do so. Basically: keep your second window very small and zoomed out a lot while your main window is medium and zoomed to 100% or more. Allow yourself to zoom in/out on the main window, but never zoom the small window, and allow yourself to work directly on both the small and large window. Use the small window to do the "basic" stuff.
    - I would suggest not separating the linework from the ink process, but instead make it the same process. Currently you create line work, then color, then create "line work again". I would suggest working on a sketch and then do a rough, then "ink" over everything on a large canvas as if they were traditional tools. Try to avoid erasing and undoing. Then use a new layer to paint under the line work. With ink (maybe line art in general) I believe in the motto "slow and steady wins the race".
    - If you are in the habit of painting over the inks then it's not really finalized inks, so in that case you can skip the inking process and just work on coloring and inking at the same time. For example, be extra extra loose in the sketch process and remember it's going to get over-written anyway, so it doesn't matter how anything 'actually' looks at that stage. Then, after laying down the basic sketch you could lay down the basic color but avoid completely overwriting the sketch, and then the third and final step would be to add the refined drawing(outline/ink) while shading/detailing the color (I know some one who uses this method regularly to great effect).

    There is a possibility that there's no reason to change your method. In your case you might explore different methods of doing each of your normal procedure steps or just dropping a couple steps altogether by combining them into one step. But I remember a quote, though: "First you get good, then you get fast, then you get good and fast". So, it's possible you're at a point where you just need to focus on quantity over quality, and work as quickly/messily as possible in order to "figure out how" to work fast, then come back to a balance phase.
    For me it depends what I'm doing. I try to use a different method for each piece I do. I feel it's the best way (for me?) to learn, while avoiding getting "stuck" in a particular way of doing things. Especially because I am self-taught, I want to avoid the deathtrap of directly copying another artist's style or the trap of refining only one skill-set. So I always go about doing things as differently as I can every time I do anything. Eventually when I feel things settle in I can refine my skills, and also develop a personal style. But until then I want to explore as much as I can in order to experience all that is possible.

    Every artist that I know of who went in to the professional art world before going to school, then later went back to school, has said that going to school made dramatic improvements on their art despite already being "pros", and the reason is because school forces you to do things differently than you normally would -- a lot of different things -- which you learn a lot from.

    Plus the most important aspect (which is relevant to your question): each time I do things a different way I can evaluate how that method felt and how much time it took and weigh the overall pros/cons. Adding it to my bag-of-tricks collection, keeping the parts that work and ditching what doesn't.

    As far as cutting down time on what you're doing, digital art shouldn't take more time than traditional art IMO. If it does, then consider analyzing why and finding a way to do each step faster on the technical-side of things (even just learning hotkeys for things can make a huge difference). The biggest problem for me was that I treated digital as far too digital. Erasing and undoing were like OCD mashing for me. Huge mistakes of the past. But that's why I keep exploring, I'm still in the process of learning to treat digital more as traditional while keeping the tools that make digital even MORE efficient than traditional (instead of as add-on's/enhancements).
    Let's play.
  • TaitoTaito Great Thing Joined: Posts: 7,096
    Interesting. Using the two panels for the same pic does help me keep an eye on everything. I tried shrinking for precise coloring (it's faster/easier to filling all the pixels with color) but I'll try to do without. Thanks for the advice.
  • CHOWZCHOWZ Joined: Posts: 330
    That was really helpful Xeno, thanks.

    I'm kinda stuck in my current method and its killing me. I've gotten so used to drawing on MS Paint with my tablet, that I can't really get comfortable when it comes to Photoshop for some reason. So far I've been doing my main sketching in Paint with inks and shadows first which I then transfer to Photoshop where I struggle trying to get a clean coloring job. Ending it with a even more desperate attempt to use blur and gradients to make it somewhat presentable. Its hopeless I know. Another problem I have is patience, for most of my life I've been wanting to do great sketches fast and easy. But that can only go so far with coloring, which is something I have to work on. So alot of my stuff looks rushed cause I just want to get the shit over with. Which is a shame since the coloring just kills my overall piece. Another reason why I like working with black and white instead. Man I feel like I just confessed my whole heart out here, but it is what it is. I guess this is just my way of trying to explore in getting good fast. Though I'm far from it.

    Another thing I wanted to ask is the no line technique. Not that i'm trying to bite anybody's style or anything, but its something I've been wanting to try but I just feel my execution is off. That or I'am really not comfortable with the lasso tool. Do I really have to trace every part of the lineart and shades included using lasso? is there another way that someone could explain this to me?

    Scarlet by *lastscionz on deviantART
  • AOS-AOS- C Joined: Posts: 3,269
    IRL, there are no such things as "lines"... these things we call "lines" are really a separation of color.
    What you do is you make colored shapes that will represent whatever it is you're drawing. shadows and highlights will be represented the same way. And i HIGHLY recommend you learn how to use the pen tool as the lasso really sucks ass. make sure in the pen tool options you select "Path" and not "Shape".

    You guys think I should stop here? I was thinking about adding another Trish and Dante (in the same style as my Ibuki 3-tone drawing), at a scale that consumes 60% of the canvas height, but am unsure if that is too much? I chose to have the current pair fairly dark and loose for backdrop entities

    dmcwip.jpg
    PSN/Steam: AOS- [Gouken, Ryu]
    Wii U (SSB4): Okrapaeli [Mario, Link]
  • Xenozip.Xenozip. what a nincowpoop Joined: Posts: 3,942
    -snip-
    That reminds me, I hate to sound like a broken record by mentioning art videos on youtube/nico, but it really is a great way to view other artist's "workflow", as you had inquired about.

    In fact, the previous tip I gave you regarding the separate windows was from a video I saw a while ago: image
    - image
    - image
    - image
    - image (creating and coloring line art)
    - ??????????????????????? ? ??????(??)
    - ???????????(?????) ? ??????(??) (coloring line art)
    - image
    - image
    - image
    - image
    - image
    - image
    - image

    And tutorials are good too:
    - Sunday Mailbag | Tom's MAD Blog!
    - PSG Art tutorial
    I personally found them useful as study guides for myself.
    -snip-
    I wouldn't know exactly how that particular artist does it, but I do know how I would do it (example): you draw a shirt in black lines, you make a new layer and move it below the lines layer, you color the shirt on that new layer, you go back to the original line art layer and "lock the layer transparency", then you switch between eyedropper and brush to just recolor the black lines to match the shirt color.

    So, rather than removing the lines you simply recolor them without having to redraw them. Of course, getting your finished piece to "look right" requires a good concept of values and edges and how light/shadow works.
    -snip-
    I agree. Magic Wand, Quick Mask, and Pen Tool do whatever you would have done with the Laso, except faster and easier and possibly even more accurately than the Laso.
    Let's play.
  • AOS-AOS- C Joined: Posts: 3,269
    When I say lasso, that included Magic Wand...:wgrin: hate that shit too. I use the pen for paths, color fills and any selections that are not non-rectangular selections.
    PSN/Steam: AOS- [Gouken, Ryu]
    Wii U (SSB4): Okrapaeli [Mario, Link]
  • CHOWZCHOWZ Joined: Posts: 330
    Not sure if this has been posted here before, but do you guys have any tips for the coloring process or effect in making a SFIV VS profile?

    http://www.games.lisisoft.com/img/4/9/4988-1-super-street-fighter-4-makoto-vs-ibuki-trailer.jpg

    I think I remember reading in the SF 20 book that IKENO first traced the polygon models and went from there. But I'm curious to know the rest of the process might have been (paints he used for lighting, color consistency and the way they blend). I just really want to get that style down so I can start drawing other people, its been in my head for awhile. I guess I just need to try it out for myself and see what works. Any help would be appreciated.

    Calling out to Xeno, oh wise one, where are you!?
  • Rusty ShacklefordRusty Shackleford Joined: Posts: 18
    For art supplies (Copic) the BEST online site i found is oozak.com

    My local shops don't have Copic items always in stock and they're very overpriced.
    Oozak is the best I found online.
  • akuaku スピリチュアルやからね! Joined: Posts: 3,865
    I'm thinking that Ikeno uses CG to color in those profile images, like Photoshop or whatever. That's what he did for 3S anyway..

    EDIT: Wait, are you asking what he USED, or do you already know that and are asking HOW he did it? I'm slow today. <_>
  • CHOWZCHOWZ Joined: Posts: 330
    Yeah I probably should've been more clear on what I was talking about. I think the main thing I wanted was to have a certain process that would best emulate that style of coloring. I want to try and make the profiles blend in where they match the VS screen avatars as they would exist in an SF IV game if that makes sense.I probably just need the right balance of lighting and hues, so maybe I just need a little trial and error with some color picking from certain sf characters.
  • akuaku スピリチュアルやからね! Joined: Posts: 3,865
    Basically, you use different types of colors and then brush them in layer by layer. It doesn't have to literally be on different layers, but basically you go either brighter or darker with each layer, depending on how you wish to start coloring the shading. It helps a lot to mess with the opacity of the brush you're working it, making for smoother blending. This video is pretty popular around these parts, but it's definitely the easiest to understand coloring/shading tutorial out there so I recommend you check it out. Sorry if you've seen it already though.
    http://www.youtube.com/watch?v=Hi_3HymnpXE
  • AOS-AOS- C Joined: Posts: 3,269
    Hey guys, without revealing too much of what I'm currently doing, I wanted to get some feedback on this shading part.

    4534q.jpg

    I've circled the shaded portion that's illustrated by hatching. Do you think the size of the hatching is too big? Lines too thick?
    PSN/Steam: AOS- [Gouken, Ryu]
    Wii U (SSB4): Okrapaeli [Mario, Link]
  • -Midnight--Midnight- Roman Canceled Joined: Posts: 174
    I noticed on a friends laptop when I tilt the screen I can see past mistakes in the background of the artwork(digital) that can't be seen to the naked eye. Is there a way to remove it or is this something else?
    Kekeke~
  • TaitoTaito Great Thing Joined: Posts: 7,096
    I just found a full-3D version of Posemaniacs http://charapo3d.web.fc2.com/big_index.html

    You still can't pose the figures yourself, but you can move the camera in any angle instead of just 360 degrees. Much more useful imo, combined with the 3D head/torso/hand/foot viewer on the regular Posemaniacs site.
  • sinixsinix Sinix Design Joined: Posts: 156
  • rookrook amused observer Joined: Posts: 1,627 mod
    That was really helpful Xeno, thanks.

    I'm kinda stuck in my current method and its killing me. I've gotten so used to drawing on MS Paint with my tablet, that I can't really get comfortable when it comes to Photoshop for some reason. So far I've been doing my main sketching in Paint with inks and shadows first which I then transfer to Photoshop where I struggle trying to get a clean coloring job. Ending it with a even more desperate attempt to use blur and gradients to make it somewhat presentable. Its hopeless I know. Another problem I have is patience, for most of my life I've been wanting to do great sketches fast and easy. But that can only go so far with coloring, which is something I have to work on. So alot of my stuff looks rushed cause I just want to get the shit over with. Which is a shame since the coloring just kills my overall piece. Another reason why I like working with black and white instead. Man I feel like I just confessed my whole heart out here, but it is what it is. I guess this is just my way of trying to explore in getting good fast. Though I'm far from it.

    Another thing I wanted to ask is the no line technique. Not that i'm trying to bite anybody's style or anything, but its something I've been wanting to try but I just feel my execution is off. That or I'am really not comfortable with the lasso tool. Do I really have to trace every part of the lineart and shades included using lasso? is there another way that someone could explain this to me?

    Scarlet by *lastscionz on deviantART
    For linework -- there's simply no replacement for being confident about what you're drawing and then committing to it. But if you still struggle with it (like I do), I read a good tip recently: Use the Adjust Levels function in PS to lighten your lineart layer. Then, use the Burn tool and the tablet to go over the lines you want.

    As for patience in coloring -- I think it helps to just do it more often. For myself, I try to keep going around the pic and focusing on getting the shapes and value relationships right... reworking as I go along (through a combination of painting over / using layers and blending options to fix color saturation issues that I tend to have). I let myself work on some detail after I've gone around a bit, but I have to tell myself to go back to the general laying in of colors so as to keep the pic moving.

    Hope this helps. I'm still learning too.
    square peg. round hole. large hammer.
    http://rook-over-here.deviantart.com
  • fistoftheryustarfistoftheryustar Joined: Posts: 2,170
    My friend wants to become an artist. He chooses the typical anime style (and I mean the most generic kind) and he hates the studies and exercises they give him at school. He's hating on "all the sketch marks" and realistic figures he has to draw. I can understand not wanting to do it, since you wanna ultimately become a manga and anime artist. But not realizing that it's 'needed' to have a good foundation, I can't agree with.

    Do you come across people like that sometimes? I personally find the typical generic anime style, well typical by now. One should add their own flare or add something more. I don't think you can go to art school with the dream that " I don't immerse myself in the world of art, and I'll be completely successful as an artist." Am I wrong in that thinking? It just seems too competitive to try to get an easy break.

    If you've met anyone like this, is there a good way to put it into perspective for them?
    My drawing:
    Mai cheats on Ryu - "Shin Shoryuken!"

    http://forums.shoryuken.com/showpost.php?p=7115525&postcount=252
  • akuaku スピリチュアルやからね! Joined: Posts: 3,865
    He needs to realize that almost all anime/manga artists have taken art lessons or at least practiced proportions and realistic figures on their own. There are some artists out there that try and skip all that, and they're selling shitty doujins that don't make money. You have to actually learn how to draw first, then you can apply it to your own style and it'll look way more polished and consistent.

    I mean I guess it's ultimately up to your friend to decide if he wants to skip the basics. It's not really foreign, and there have been plenty of people who have practiced to the point where they can completely skip the sketch process and whip up some boss linework. As mentioned though, he had better practice. A lot. Most likely for a good while. Otherwise if he's gonna try to go pro then he'd better just quit.
  • scum gale 88scum gale 88 yo! It's SYBOK! Joined: Posts: 1,739
    How do I go about getting a graphite looking texture? something like this http://pic.tenmanga.com/comics/16187/142973/0942033ffb34a2e687227b7d0b5aebb3.jpg
    I have been experimenting with the brushes but it never comes out the way I want, it doesn't help that I am new to photoshop either.
    Yeah there need to be more gangbang creampie porno. VAMPIRE GANGBANG CREAMPIES.
  • SnarfulzSnarfulz Joined: Posts: 88
    I Totally think your hatch is just a little to thick, mabe try think lines but cross hatch.
  • SnarfulzSnarfulz Joined: Posts: 88
    I went to art school, mos the artist that were illustration majors perfered anime, It got old to me though, it seemed every one was doing the same stuff.
  • TaitoTaito Great Thing Joined: Posts: 7,096
    Has anyone tried Alchemy? It's a 2D random shape creator. It's a great tool for filling a canvas with information or 'density' to build on top of, or for beating artists' block by sparking your imagination-- kind of like looking in the sky and finding shapes in the clouds.
  • NegaduckNegaduck Is so S-Rank Joined: Posts: 5,187
    Has anyone tried Alchemy? It's a 2D random shape creator. It's a great tool for filling a canvas with information or 'density' to build on top of, or for beating artists' block by sparking your imagination-- kind of like looking in the sky and finding shapes in the clouds.

    I'm gonna check this out, thanks man.
    Roll one up homie.
    My artblog - http://negaduckduckgoose.blogspot.com/
  • CHOWZCHOWZ Joined: Posts: 330
    Anybody have any tips to having cleaner line art?

    I usually rough things, but am too lazy to retrace so i skip the step and color on top of it erasing little things here and there. i'm hoping to gain more patience with it, but just curious to know what everyone's process is.
  • NeoBloodNeoBlood kara bank account Joined: Posts: 2,712 ✭✭✭✭✭ OG
    I'd say do your rough sketches, get your poses and details sorted out, then do line work on a layer above it. I'll usually create a layer of all white set to about 70-80 percent opacity, then a transparency layer and do the lines on that. As for the lines themselves, try to work in fast strokes so your hand doesnt shake and make it jittery. Alternatively you could try to learn how to use the line/curves tool in whatever program you're using, and you can usually set it up to mimic the style of your brush depending on the pressure of your stylus (size, opacity, etc)
  • rookrook amused observer Joined: Posts: 1,627 mod
    I struggle with clean lines too. I've tried rough scribbles on one layer and then lowering opacity and drawing cleaner lines on another layer, but that doesn't always work out well -- it feels like I lose some energy when I'm redrawing the stuff on the scribbles.

    I've also tried cleaning up the rough linework on the same layer itself -- I do feel that this preserves the energy of the piece better, but it is also a few times more tedious.

    I think the key is to just get used to drawing refined line. Which is a challenge for those of us who are used to scribbling a drawing into existence :P And somehow I think it's easier to learn this with pencil on paper, not digitally. I can't explain it, but that seems to be the case for me.
    square peg. round hole. large hammer.
    http://rook-over-here.deviantart.com
  • NeoBloodNeoBlood kara bank account Joined: Posts: 2,712 ✭✭✭✭✭ OG
    And dont forget, sometimes lines aren't meant to be clean. Some of my favorite street fighter art is the scribbly shit done for concepts. Heres an example:

    ryuvssagat.jpg

    Also consider not using linework at all, and showing form using only color/contrast/shadows.

    I also think it's extremely important to consider line weight when doing a piece, unless you're doing something really cartoony take into consideration which lines taper off or get thicker. Lines "closer" to the viewer should typically be thicker and vice versa.
  • CHOWZCHOWZ Joined: Posts: 330
    And dont forget, sometimes lines aren't meant to be clean. Some of my favorite street fighter art is the scribbly shit done for concepts. Heres an example:

    ryuvssagat.jpg

    Also consider not using linework at all, and showing form using only color/contrast/shadows.

    I also think it's extremely important to consider line weight when doing a piece, unless you're doing something really cartoony take into consideration which lines taper off or get thicker. Lines "closer" to the viewer should typically be thicker and vice versa.

    Nice find! I've seen the colored version of that but have never seen the original sketch taken straight from the notebook like that.

    I agree with you on those shadows and colors, but the lines really hold it together. I feel like even when I try to cover up things, if the structure isn't clean then the rest follows. But that's only with my own personal work. I love LOVE sketching, but that coloring has always got to me too. I love putting in shadows and tones but when its all said and done I can't decide between cel shades or painting for some reason so it starts out cel shaded and then getting smudged out beyond cohesion. So yeah on top of the scribbled out linework, it seems I got alot more to work on haha

    Often I find myself rushing just to get it done, so maybe thats another problem of mine. I get bored and want to draw something else by the time I think its almost finished but never really taking the time to actually finish it.

    How long would you guys say your process is starting from linework, to flats, shadows, etc?
  • SnarfulzSnarfulz Joined: Posts: 88
    Digital, use Illustrator, practice some and you will get the hang of it, or you can scan in dark line sketches, live trace them into vector, then manipulate them.
  • TaitoTaito Great Thing Joined: Posts: 7,096
    Digital, use Illustrator, practice some and you will get the hang of it, or you can scan in dark line sketches, live trace them into vector, then manipulate them.
    Or Inkscape, which is free.

    Again for digital, I've used SAI's ink layer, which is a vector tool but operates like freehand. Vector corrections can be made automatically or manually.

    Also, LazyNezumi helps stabilize your lines when using a tablet or mouse.

    And drawing large images (>2000 pixels, ideally >4000 px) make the lines appear smoother when you shrink it down.
  • 001vetinh001vetinh Joined: Posts: 4
    When I first learned about masks I was like OMGwtf amazors...but now I find I use them a lot less for paintings. There is a more organic feel about raw application of color on fewer layers. They are definitely useful though in the right places and can increase the efficiency of your work flow, especially when you need to provide multiple versions of one painting.
    vận tải minh tâm là dịch vụ bán nước đá khô hàng đầu Việt Nam. Giới thiệu thêm cho oto tốt nhất chuyển văn phòng trọn gói
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